Contemporary Dance seems to have come of age, which was
clearly evident in the resounding echo of
appreciation from the packed hall in Bangalore on 4th
August, when Attakalari Centre for Movement Arts
presented their new production Mei Dhwani, the title
being derived by linking the Tamil and Sanskrit
words (mei meaning body and Dhwani meaning echo).

Mei Dhwani subtly alludes to “Echoes of the body.”
Metamorphically, the three elements fire, water and earth
are symbolized through props. The synergy of the male and
female energy, fire acts as a metaphor for male energy and
its inherent destructive power and water the ever flowing
life stream representing the female energy. The metallic
pots used in the production suggest the unfathomable
feminine infinity contrasted against the phallic
cylindrical oil lamps.

This inspired
production portrays individuals who are captives of
circumstance and history. The narrative begins with
Jayachandran Palazhy seated on a pot signifying the unity
of body and spirit, as the dancers move into the stage
using the language of movement of both Bharatanatyam and
Kalaraipayyatu to conjure the sensorial narrative that
traverses universal predicaments. The pots used by the
female dancers held in hand and rolled
over the body through the skillful use of movements of the
hands and legs create an individual narrative that
oscillates between suspended realms of body and soul. The
male dancers enter with metallic cylinders, symbolizing
male energy. The awakening through the background tune
“Hosh me aaa” as the lighted oil lamps are placed on the
cylinders. The artists all dressed in white, capturing
fragility and turmoil. The landscape soon changes to the
artists’ costumes which sport a purple colour signifying
preparation of the body. The tempo increases as the battle
of fury wages within, resonating the collective memory of
emotions ending finally with all the artists lying down on
the floor and the spotlight focuses once again on
Jayachandran sitting on the pot in the opposite corner of
the stage from where he had started at the beginning of
the show, traversing the imagined landscape and returning
to the central theme of unity of mind body and spirit.

The dancers, three female and four male, energetic and
vibrant, along with Jayachandran played their roles to
perfection. Excellent production values enriched the
performance. The creative choreography of Jayachandran,
the artistic and creative director of the company, the
subtle and evocative lighting by Thomas Dotzler creating
the ritualized arena, the vibrant soundscape provided by
the Israeli composer and sound artist duo of Patrick Sebag
and Yotam Agam, and the costumes designed by Himanshu and
Sonali of Hidden Harmony with additional costume design by
Asha and Samantha of Elan Design Studio complimented the
aesthetic values of the production.

Contemporary Dance generally suffers from repetitive
movements which hang heavy on the audience attention and
this narrative did no better. It would have been more
impactful if the duration in any way could have been
reduced.

Satish Suri has been an ardent follower of dance and
music for more than 40 years, starting with being
on the committee of the International Music and
Arts Society founded by Vijaya Devi, sister of the Late
Maharaja of Mysore, Jayachamarajendra Wodeyar and now
presently is treasurer of World Dance Alliance Karnataka
Chapter. He has presented several artists, both dancers
and musicians, over the last 40 years.